<?xml version="1.0" encoding="utf-8"?><metadata xmlns:dc="http://purl.org/dc/elements/1.1/"  xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:dcterms="http://purl.org/dc/terms/"><dc:title xml:lang="en">oil prints</dc:title><dc:identifier>http://AATesaurus.cultura.gencat.cat/aat/getty_en?tema=31477686</dc:identifier><dc:language>en</dc:language><dc:publisher xml:lang="en">Getty Institute</dc:publisher><dcterms:created>2026-03-30 21:08:38</dcterms:created><dcterms:isPartOf xsi:type="dcterms:URI">http://AATesaurus.cultura.gencat.cat/aat/getty_en</dcterms:isPartOf><dcterms:isPartOf xml:lang="en">Tesaurus d&apos;Art i Arquitectura</dcterms:isPartOf><dc:format>text/html</dc:format> <dcterms:alternative xml:lang="en">oil photoprints</dcterms:alternative> <dcterms:alternative xml:lang="en">oil pigment prints</dcterms:alternative> <dcterms:alternative xml:lang="en">oil print</dcterms:alternative> <dcterms:alternative xml:lang="en">prints, oil</dcterms:alternative> <dc:description xml:lang="en"><![CDATA[ Hand-inked photographs produced by a bichromate process developed by G.E.H. Rawlins ca. 1904. A sheet of paper is coated with a thin layer of gelatin and sensitized with bichromate, dried in the dark and exposed under a negative. Exposure hardens the gelatin in the shadow areas and partially in mid-tones. Soaking in water subsequently removes sensitizer and causes the mid-tone and highlight areas to absorb moisture. Oil based inks are repelled in these areas, and remain to a greater or lesser degree in others. The plate is then allowed to dry or is transfer-printed to another sheet, then re-inked for more prints. ]]></dc:description></metadata>